never can be with him an absence of the meditative
phrase. Rather must there be a vehement rousing of his muse from a state
of mystic adoration to rhythmic energy and cheer.[A]

[Footnote A: The key of the work is given by the composer as D minor.
The first movement alone is in the nominal key. The second (in B flat)
is in the submediant, the last in the tonic major. The old manner in
church music, that Bach often used, of closing a minor tonality with a
major chord, was probably due to a regard for the mood of the
congregation. An extension of this tradition is frequent in a long coda
in the major. But this is quite different in kind from a plan where all
of the last movement is in insistent major. We know that it is quite
possible to begin a work at some distance from the main key, leading to
it by tortuous path of modulation; though there is no reason why we may
not question the composer's own inscription, the controlling point is
really the whole tonal scheme. Here the key of the second movement is
built on a design in minor,--would have less reason in the major. For it
rests on a degree that does not exist in the tonic major. To be sure,
Beethoven did invent the change to a lowered submediant in a succeeding
movement. And, of course, the final turn to the tonic major is virtually
as great a license.]

_Lento_ in basses of the strings a strain sounds like a basic motive,
answered with harmonies in the wood. In further strings lies the full
tenor of quiet reflection, with sombre color of tonal scheme. Motives
are less controlling probably in Franck than in any other
symphonist,--less so, at any rate, than his one

[Music: _Lento_]

special mood and manner. Yet nowhere is the strict figural plot more
faithful in detail than with Cesar Franck.

The theme has an entirely new ring and answer when it enters Allegro
after the Lento prelude. The further course of the tune here is in
eccentric, resolute stride in the descending scale. Our new answer is
much evident in the bass. The Allegro seems a mere irruption; for the
Lento prelude reappears in full solemnity. Indeed, with all the title
and pace, this seems very like the virtual "slow" movement. A mood of
rapt, almost melancholy absorption prevails, with rare flashes of joyous
utterance, where the Allegro enters as if to break the thrall of
meditation. A very striking inversion of the theme now appears. The
gradual growth of phrases in melodious instalments is a tra